2016Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2016-05-16UTC15:33:20+00:002016-05-16Arrangements aplenty as the Australian Chamber Orchestra take on Bach's Art of Fugue and Beethoven's Op.130, with Richard Tognetti the accomplished soloists in Mozart's Violin Concerto no. 5.
The canon’s roar: violence and violins in ACO Sydney programmeen_GBtruehttps://bachtrack.com/review-tognetti-australian-chamber-orchestra-sydney-may-2016Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngDavid Larkinhttps://bachtrack.com/22/270/list-published/944https://bachtrack.com/22/270/list-published/944https://bachtrack.com/files/135-dl_photo.jpgDavid is a lecturer at the University of Sydney, specialising in nineteenth-century music. Educated at Dublin and Cambridge, he has published on Richard Strauss, Liszt and Wagner. He gives pre-concert talks for the Sydney Symphony, and sings with a number of chamber choirs.https://bachtrack.com/files/39531-myimage.jpg300450Richard TognettiPaul Henderson2016-May-14, City Recital Hall: Beethoven & Mozarthttps://bachtrack.com/concert-listing/city-recital-hall/beethoven-mozart/14-may-2016/19-002016-05-142016-05-20City Recital HallSydneyNew South WalesAustralia2-12 Angel Place-33.867139151.20711400000005https://www.aco.com.au/whats_on/calendar?utm_medium=display&utm_source=bachtrack.comhttps://bachtrack.com/files/65396-australian-chamber-orchestra-logo2.jpg4

The more you read about music, the more you notice the word “authenticity” cropping up annoyingly frequently. The great raging musical arguments of the late 20th century still burn; performers, listeners, even composers find themselves having to take up quasi-moralistic stances on gut strings, vibrato, and whether trills should begin on the upper or lower note.